START-TRACK AT SHOW: Fortitude Valley + adults + Lanny @ New River Studios – September 13, 2025

Tonight we’re North of the River to see Fortitude Valley at New River Studios, a new venue/art space just off the Seven Sisters Road.

In amongst an area seemingly dominated by industrial complexes and business warehouses (the aptly named “Warehouse District”, apparently), New River Studios is a bustling artistic hive. Somewhat of a sore thumb, it sticks out for all the right reasons. It’s vibrant, lively and communal feelings – a technicolour artistic oasis in an urban sea of grey.

It must be said that the tepid autumn air makes a welcome change from the environment the last few gigs we’ve been to have taken place in. The opinion is clearly shared, but the crowd at New River Studio spills to the outside patio space throughout the course of the night.

Fortitude Valley are supported tonight by two acts. First up is Lanny. A solitary singer in a Nike cap and a baggy jacket, backed by a laptop playing ethereal, atmospheric backing tracks. “Is this what you wanted?” they sing as the first song begins. They croon into the mic and command the stage in a way that seems quite unnatural for just one person and a Mac.

They melt into their own world as the song seems to crescendo, and the audience is right there with them. After a round of applause, the second song begins. Birdsong peppers the background of the new soundscape. We’re reminded of James Blake as they sample their own vocals and chop them up, as a clear single-coil guitar sound is introduced.

As their shoulders shake and their hips shimmy, ever so slightly, Lanny seems to be gradually emerging from their shell. The scope of the songwriting here, whilst different tonally, reminds us of another live act we reviewed recently, the wonderful, powerful Dominie Hooper. Lanny is also, clearly, a fearless songwriter – that much is irrefutable, even after only two numbers.

The next song has an almost 070 Shake feel to it. With the vocals manipulated just the right amount, Lanny crafts tapestries with their voice and minimal electronic backing. They prowl the stage like a pensive panther. They remind us a bit of Anna Calvi trying her hand at a bit of experimental electronica, their ambition unbound and their scope unlimited.

The next song starts with some fuzzy synth keys and some deep bass beats. It’s the closest the set has come to a “bop” so far. “Do you find it weird?” they sing as the audience definitely does (it’s a slightly baffling choice of support act, for Fortitude Valley, to be frank, especially when compared to the obvious suitability of the act that follows). But it doesn’t temper their enjoyment. Reminiscent of Purity Ring at their most adventurous, this song soars and grows to gargantuan proportions. We feel like Lanny would really benefit from a full band bringing these songs to life. They end the song on the flood and begin the next song from the same location. A melange of chorusy guitars kicks in, and with the juxtaposition of the melancholia of the vocal delivery and the upbeat music, it feels like the sort of song The Smiths might’ve ultimately made if they had been A) together and B) all still alive today. Lanny has a little boogie, and the audience bops their heads along with them. Lanny gets even more animated towards the end of the song as they slink down to ultimately become kneeling, and the audience can’t keep up. We can’t help but imagine them playing to even larger, more enthusiastic and engaged audiences in the future.

After a brief chat about their album entitled Bliss!! Bliss! Bliss, the next song begins. It’s the penultimate one, and it’s entitled Bliss, appropriately. It starts with what sounds a lot like a dial-up modem sound (God, remember those?! How did we cope?!), which bleeds into a delicately poised combination of synths, (presumably) found sounds and samples. Lanny begins to speak over it, their voice warped and skewed to the point of unrecognisability. They sound like a robot and a child and an alien and a cartoon and a computer game character, all rolled into one. It feels a bit like Laurie Anderson or The White Stripes’ B-side Who’s A Big Baby? – It’s at the same time befuddling and beguiling, incomprehensible but unignorable.

Bliss segues into the last song, which is a beat-heavy beast of a banger. Their vocals escalate for this one. Where previously there were hushed tones, there is now powerful bombast. They again apply an effect to their vocals, adding duplicate octaves both up and down, at varying points. Like the aforementioned 070 Shake, there seems to be a strong Kanye West influence here (whether the artist would care to admit it or not, such is the shame his name now carries).

And just like that, it’s over. The crowd skulks away to refill their plastic pints and pee.

After a short break, Lanny is followed by adults. A quartet made up of 2 guitarists, a bass player and a drummer and a formidable force they are indeed.

Their set starts with a brief squeal of feedback, cut apart by a raucous wall of noise that introduces Filling Up The Feelings. Their sound is much more like the sort of sound we expected to hear from a band supporting Fortitude Valley. It’s pop rock to the power of ten, full-throttle and tonnes of fun. Bordering on pop-punk, it’s energetic and spritely and gets the audience on side immediately.

The second song – TFL Has A Lot To Answer For – begins very soon after the first one finishes. With spidery guitar lines and vocals that chop and change between both guitarists – Joely and Tom – it feels a little bit like Los Campesinos! There is a rather satisfying instant tempo change about midway through that showcases their songwriting prowess as well as temporary lulls that see Tom briefly – and seamlessly – deviating to keys.

Dolce Vita starts with simultaneous singing and is slower in pace than the two tracks that preceded it, but is no less catchy. The crowd nod obediently along as the guitars are clean in the verses and dirtier in the chorus, adding a nice sense of dynamism. As per the previous act, it’s easier to see these songs being played to larger audiences. This has festival season written all over it. Remember the adults’ name for next year.

Going Round The Houses begins with a start and has a decidedly math-rock feel to it. There’s an undeniable charm to their ramshackle sound that recalls the work of bands like Johnny Foreigner and perhaps even Allo Darlin’ – if they were all hopped up on caffeine and frustration. These are well-crafted agit-pop-rock songs of the highest order. “You keep going round the houses”, they sing, and it suddenly dawned on us how quintessentially British the whole thing is.

We’re told the next song – All We’ve Got // All We Need – is an anti-fascist song and feels, sadly, more necessary than ever. The lead guitar parts on this song – courtesy of Joely – split the fervent noise with aplomb and guile. It’s a spirited, community-building call to arms – as it were – and is something everyone should listen to.

The next song is called Crying and begins with a catchy lead guitar line. This carries on throughout the track, and we can’t help but think how refreshing it is to see a woman given such a spotlight. We can’t remember the last time we saw a female lead guitarist in a UK band. Joley’s tone is creamy and warm, and she stands apart but also together with the rest of the band, adding a valuable focal point to both this song and the previous one. She is a valuable string to adults, already an incredibly impressive bow. More of the same, please.

The next song feels like a straight-up punk song. Like the offspring of X-Ray Spex and The Buzzcocks, Discipline is spunky and spiky and is seemingly over in a flash. It concludes abruptly over a backdrop of feedback. The next song begins swiftly with an a cappella vocal from Joley. “I feel better”, she sings on Trouble, and so do we for witnessing this and better still, when we’re informed that the songs performed tonight are mostly from their forthcoming album.

The next song can only be described as rifftastic. The opening bars of Flag are their heaviest moment so far. The intro subsides and the riff feels more like Sweet Jane than Sweet Leaf, but still, it packs an impressive punch. The band sound tight and well-rehearsed, competent and confident.

Up next is a cover of the Pixies tune Gouge Away. Which is, as you probably know, a bona fide fucking classic. Crucially, the band make it their own whilst also staying relatively faithful to the original source material. A tough balance to strike. Particularly where such an iconic band (and indeed song) are concerned.

The next song is their last and is their most recent single. It starts with a sparkly clean guitar line that is interspersed with a gritty guitar tone before the drums kick in. As Patterns progresses, the guitars drop in and out – but the rhythm section holds the whole thing together admirably. The song is probably one of the poppiest moments in the set so far. Again, vocalist/guitarist Tom pulls double duty and switches to synth towards the end of the song – should that be triple duty then? Whatever the set ends, it has been an overwhelming success and a breath of fresh air. We will definitely be paying close attention to adults going forward.

Freshly adorned with assorted faux flora and fauna, the scene is set for the main event. Laura Kovic and the rest of Fortitude Valley take the stage. Laura looks radiant and every bit the frontwoman in her now-trademark magenta gown with puff sleeves.

Their opening tune is the new album’s title track. Part Of The Problem, Baby is one of the catchiest things we’ve heard since The Beth’s A Passing Rain. The band complements each other perfectly, and the song ebbs and flows in all the right places and in just the correct amounts. “I’m tired, uninspired, going through the motions”, Laura sings, and you get the impression that she – and the rest of the band – are anything but.

After a bit of niche video game survival horror chat (any Resident Evil fans in the house? No? OK. Lol), the second song begins. Surely the catchiest incarnation of the sentiment “you’ve totally fucked it” there has ever been, the band rip through Totally – one of the standout album tracks with the assuredness and expertise of a band who are in the middle of a UK tour (as indeed they are). By the time the chorusy clean tones of the bridge come in, the audience is well and truly under their spell.

The next tune is Red Sky. It starts with strummed, shimmering guitars and beautiful vocal harmonies provided by bassist Naomi. As Laura sings lines like “sick of looking in from the outside”, she sounds like she’s trying to convince someone of something. One group of people she’s certainly not having to try to convince is this crowd, who are clearly more than sold. The additional vocals by this point are sharper and less measured than they were in the introduction to the song, but no less effective. Special mention must be given to lead guitarist Dave, who has steadied the ship throughout, but has a rare slip on the solo here; thankfully, even his clangers are classy and captivating.

Up next is the prior single Video (Right There With You). It’s the second song we ever heard by the band, and it isn’t hard to see why we were immediately ensnared. Live, and in this room on this night, it is even better than we remembered. The dichotomy of the tense verses and the release that comes in the chorus is *chef’s kiss*. Laura takes a solo on this one and shreds up a storm, further cementing the fact that she is clearly an exceptional songwriter.

Up next is Wreck, which we’re told is the first song they ever put out. With music that’s as catchy as it’s been all night and lines like “I hate the way you’re running rings around my heart”, Laura enraptures the listener. The band are consummate professionals and serves the songs perfectly. The rhythm section shines on this one, with the bass in particular having a prominence that it hasn’t previously had, and Dave absolutely slaying on exhilarating lead guitar.

Cassini is up next and is a punk rock ripper. The combination of Laura’s syrupy-sweet vocals and the abrasive riffage reminds us a bit of a more subdued Le Tigre. This is followed by a brief plea from bassist Naomi to Free Palestine, a sentiment we can agree with. Now, today, tomorrow and always.

Up next is Everything Everywhere, the opening track from their new album. “Listen carefully, coz this won’t be repeated,” Laura sings. And indeed we do. “I’ll fuck it up again, another catastrophic failure”, she goes on. Yet, this night feels like it couldn’t be further from that. Before the set, Laura told me she was very nervous, but she had no reason to be. The thing about Fortitude Valley’s songs is that they are instantly enjoyable. At once familiar and fresh at the same time. And the live setting is no exception. If anything, they’re even more charming IRL, witnessed before your very eyes. It’s something we’d vehemently recommend.

Don’t You Wanna Be Near Me? follows and is another song taken from Part Of The Problem Baby. Which, we must admit, we knew was good. But fucking hell, this has cemented that like Han Solo in carbonite (yes, we know carbonite is not cement, but whatever, you get the bloody point). Don’t You Wanna Be Near Me? is a jaunty sing-along number that is full of spirit and style. “Did I misread every single cue you sent me?” Laura sings, and the familiar feeling of attempting to navigate burgeoning romantic feelings swells inside of us, and I’m sure many others in attendance. It’s personal but also relatable, like many a great song before it.

The next tune is their “danciest song”. The Right Thing is embedded with a ferocious punk energy that has been bubbling beneath the surface throughout the set, but is fully let loose here. “I tried so hard to do the right thing. I tried so hard it’s embarrassing”, Laura and Dave sing in unison, as the song melds into the next. “Baby I’m Afraid” gets the audience bouncing and dancing in equal measure.

After a bit more Resident Evil banter from Nathan (to a largely apathetic audience, still no gamers in the house? Weird.), the band launches into recent single Oceans Apart, which sounds absolutely HUGE. The parts are perfectly balanced, and the song takes on a life of its own, performed live here tonight. Look up power pop/rock in the dictionary, and this should be there. “Sometimes I wonder how it might’ve been, if only I had a thicker skin”, Laura sings as Dave’s solo follows. Unfortunately, it’s a little bit lost in the mix – slightly let down by the sound guy, maybe? – and is over in a flash, but it was thoroughly enjoyable while it lasted. All Hail The Great Destroyer is up next, which is about Laura’s cat, Margie. It’s one of only a few songs tonight that is not taken from the recent album, but it’s just as accomplished and impressive.

Sunshine State follows and is the first track we ever heard by the band. Again, the immediate quality shines unquestionably through. The live rendition is faster than the studio version – as can sometimes be the way. The band tears through it with palpable enthusiasm and energy. It’s been said already, but it bears repeating: they work together perfectly. And it seems effortless. And, most importantly, it’s fun for both artists and audience alike. Much like Oceans Apart, it’s over way too quickly, but they finish with a bang. A bang was heard from here to back home in Durham.

As quickly as they appeared, the quartet vanished into the night to imminently take on the rest of the UK. Brace yourselves and buckle up.

Photos: Sonny Malhotra

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Written by Kinda Grizzly